DOCSLIB.ORG

In Association With

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Association With OVERTURE OPERA GUIDES in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago on the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with repertoire being staged by the company at the London Coliseum. The updated reissue of this guide to Parsifal marks the return to the London Coliseum of Nikolaus Lehnhoff’s acclaimed staging of Wagner’s final music drama. First produced at ENO in 1999, the production has travelled to San Francisco, Chicago, Baden- Baden and Barcelona, as well as having been filmed for DVD. This revival at ENO in 2011 will be the production’s final perfor- mances. Nikolaus Lehnhoff returns to ENO to direct his staging of Wagner’s final masterpiece, with a cast which includes the dis- tinguished British Wagnerian Sir John Tomlinson (Gurnemanz), Stuart Skelton (Parsifal), Jane Dutton (Kundry), Tom Fox (Klingsor) and Iain Paterson (Amfortas). Mark Wigglesworth conducts. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the poetry of the libretto and the nuances of the score, readers’ understanding and appreciation of the opera and the art form in general will be enhanced. John Berry Artistic Director, ENO February 2011 The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in associa- tion with English National Opera in 1980. It ran until 1994 and eventually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, some new articles, updated reference sec- tions and a literal translation of the libretto that will enable the reader to get closer to the meaning of the original. New guides of operas not already covered will be published alongside the redesigned ones from the old series. Gary Kahn Series Editor Sponsors of the Overture Opera Guides for the 2010/11 Season at ENO Eric Adler John and Gilly Baker Frank and Lorna Dunphy Ian and Catherine Ferguson Judith Mayhew Jonas and Christopher Jonas Ralph Wells Eric Adler and Richard Everall are gratefully acknowledged for their assistance in the 2017 reprint of this volume Parsifal Richard Wagner Overture Opera Guides Series Editor Gary Kahn Editorial Consultant Philip Reed OP OVERTURE OVERTURE OPERA GUIDES in association with Overture Publishing an imprint of ALMA BOOKS 3 Castle Yard Richmond Surrey TW10 6TF United Kingdom The articles by Dieter Borchmeyer, Robin Holloway, Carolyn Abbate and Gerd Rienäcker first published by John Calder (Publishers) Ltd in 1986 © the authors, 1986 Articles by Barry Emslie and Mike Ashman first published in this volume © the authors, 2011 This Parsifal Opera Guide first published by Overture Publishing, an imprint of Alma Books Ltd, 2011. Reprinted 2017 © Alma Books Ltd, 2011, 2017 All rights reserved Translation of libretto © Lionel Salter Library, www.LionelSalter.co.uk Reprinted by kind permission of Graham Salter Printed in United Kingdom by CPI Group (UK) Ltd, Croydon, CR0 4YY ISBN: 978-1-84749-708-6 All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents List of Illustrations 8 Recapitulation of a Lifetime, Dieter Borchmeyer 9 Parsifal: The Profanity of the Sacred, Barry Emslie 17 Experiencing Music and Imagery in Parsifal, Robin Holloway 31 Parsifal: Words and Music, Carolyn Abbate 49 Discursions into the Dramaturgy of Parsifal, Gerd Rienäcker 69 Parsifal on the Stage, Mike Ashman 85 Thematic Guide, Lionel Friend 95 Parsifal, Libretto Act One 107 Act Two 157 Act Three 209 Select Discography 239 Parsifal on DVD – A Selection 243 Select Bibliography 245 Wagner Websites 248 Note on the Contributors 249 Appendix: Parsifal Cross, Wieland Wagner 251 Acknowledgements 253 List of Illustrations 1. Richard Wagner in 1877 2. Paul von Joukowsky, Hermann Levi and Carl Brandt 3. Rehearsal at the Festspielhaus in Bayreuth (Lebrecht Music & Arts) 4. Cast list for the first performances 5. Amalie Materna, Emil Scaria and Hermann Winkelmann (Nationalarchiv der Richard-Wagner-Stiftung) 6. Flower Maidens at the Metropolitan Opera (Metropolitan Opera Archives) 7. Wieland Wagner’s first Parsifal design at the Bayreuth Festival (Nationalarchiv der Richard Wagner-Stiftung) 8. Wieland Wagner’s production at the Bayreuth Festival (Eduard Renner) 9. Ludwig Weber (ArenaPAL) 10. Martha Mödl (Siegfried Lauterwasser/Lebrecht Music & Arts) 11. James King (Siegfried Lauterwasser/Lebrecht Music & Arts) 12. Waltraud Meier (Siegfried Lauterwasser/Lebrecht Music & Arts) 13. Karl Muck (Lebrecht Music & Arts) 14. Hans Knappertsbusch (Rudolf Betz) 15. Clemens Krauss 16. Reginald Goodall (Clive Barda/ArenaPAL) 17. Ulrich Melchinger’s production at the Kassel Staatstheater (Sepp Bär) 18. Edith Clever and Michael Kutter in Hans-Jürgen Syberberg’s film (Ronald Grant Archive) 19. Ruth Berghaus’s production at Oper Frankfurt (Mara Eggert) 20. Götz Friedrich’s production at the Bayreuth Festival (Siegfried Lauterwasser/Fest- spielleitung Bayreuth) 21. Joachim Herz’s production at ENO (Clive Barda/ArenaPAL) 22. Robert Wilson’s production at Houston Grand Opera (Jim Caldwell) 23. Waltraud Meier and John Tomlinson in Harry Kupfer’s production at the Berlin Staatsoper (Monika Rittershaus) 24. Peter Konwitschny’s production at the Bayerische Staatsoper (Wilfried Hösl) 25. Nikolaus Lehnhoff’s production at ENO (Clive Barda/ArenaPAL) 26. Silviu Purca˘rete’s production for Welsh National Opera (Clive Barda/ArenaPAL) 27. Christoph Schlingensief’s production at the Bayreuth Festival (Bayreuther Festspiele GmbH/Jochen Quast) 28. Stefan Herheim’s production at the Bayreuth Festival (Bayreuther Festspiele GmbH/ Enrico Nawrath) 29. Claudio Otelli in Calixto Bieito’s production at the Stuttgart Staatstheater (Martin Sigmund) 8 Thematic Guide Devised by Lionel Friend Themes from the opera have been identified by the numbers in square brackets in the article on the music. These are also printed at corresponding points in the libretto, so that the words can be related to the musical themes. [1] e a i b g bb b 4 j j j j b 4 j c j j d n h w f [2] b b j j b b b4 j j j w [3] x 1c b b bb j j b j 42 43 [4] 60 j j j n j ? 4 w w bb4 w n w w b w w 4 [5] b n ? 4 b ~~~~~~~~ 3 [6] 3 b4 4 b n b n ? b4 b [7] 95 4 j j b b n x n j ? J n b b j J J 4 b Parsifal Stage Consecration Festival Play in three acts by Richard Wagner Libretto by the composer English translation by Lionel Salter Parsifal was first performed at the Festspielhaus, Bayreuth on 26th July 1882. It was first performed in the United States at the Metropolitan Opera, New York on 24th December 1903. It was first performed in Britain at the Royal Opera House on 2nd February 1914. The German libretto has been laid out in accordance with the one printed in vol. 10 of Wagner’s Gesammelte Schriften und Dichtungen (Collected Writings) prepared under the composer’s supervision and first printed in Leipzig in 1883. The English translation follows the same layout. THE Characters Amfortas, son of Titurel and ruler baritone of the Kingdom of the Grail Titurel, his father bass Gurnemanz, a veteran Knight bass of the Grail Parsifal tenor Klingsor, a magician bass Kundry soprano First and Second Knights tenor and bass Four Squires sopranos and tenors Six solo Flower Maidens sopranos Voice from Above alto Knights of the Grail, Youths and Boys, Flower Maidens The Grail castle and its environs 105 Vorspiel [1, 25, 11, 1e, 3, 41, 50, 9, 1g] ERSTER AUFZUG Ort der Handlung: Auf dem Gebiete und in der Burg der Gralshüter „Monsalvat“: Gegend im Charakter der nördlichen Gebirge des gotischen Spaniens. Wald, schattig und ernst, doch nicht düster. Eine Lichtung in der Mitte. Links aufsteigend wird der Weg zur Gralsburg angenommen. Der Mitte des Hintergrundes zu senkt sich der Boden zu einem tiefer gelegenen Waldsee hinab. Tagesanbruch. Gurnemanz, (rüstig greisenhaft), und zwei Knappen (von zartem Jünglingsalter) sind schlafend unter einem Baume gelagert. Von der linken Seite, wie von der Gralsburg her, ertönt der feierliche Morgenweckruf der Posaunen. [1a] GURNEMANZ (erwachend und die Knappen rüttelnd) He! Ho! Waldhüter ihr, Schlafhüter mitsammen, so wacht doch mindest am Morgen. (Die beiden Knappen springen auf.) [25] Hört ihr den Ruf? Nun danket Gott, daß ihr berufen, ihn zu hören! (Er senkt sich mit den Knappen auf die Knie und verrichtet mit ihnen gemeinschaftlich stumm das Morgengebet; [11, 25] sobald die Posaunen schweigen, erheben sie sich langsam.) Jetzt auf, ihr Knaben! Seht nach dem Bad. [12, 53] Zeit ist’s, des Königs dort zu harren. [45] Dem Siechbett, das ihn trägt, voraus [51] seh’ ich die Boten schon uns nahn’! 106 Prelude [1, 25, 11, 1e, 3, 41, 50, 9, 1g] ACT ONE Scene of the action: the domain and castle (‘Monsalvat’) of the Guardians of the Grail: landscape in the style of the northern mountains of Gothic Spain.
Load more

Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 37,1917-1918, Trip
    CARNEGIE HALL - - . NEW YORK Thirty-second Season in New York B©§[ fiesta Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor THURSDAY EVENING, NOVEMBER 8 AT 8.15 AND THE SATURDAY AFTERNOON, NOVEMBER 10 AT 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1917, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER Stelnway FROM the very beginning of a musical education, nothing is so important as a correct appreciation of tone. Hence the child should receive its early impressions from a Steinway Piano. The exquisite Steinway tone is recognized as ideal, and it has made this instrument world- famous. Superior craftsmanship builds the Steinway for lifetime usage, and all the strain of "prac- tice years" does not make its action uneven or lessen its sweet- ness and resonance of tone. Under these circumstances, no other instrument is "good enough to begin on." Consider, too, that a Steinway costs but little more than an ordinary "good" piano. Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, 0. Rissland, K. Theodorowicz, J. Concert-master. Hoffmann, J. Schmidt, E. Bak, A. Noack, S. Mahn, F. Ribarsch, A. Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Baraniecki, A Griinberg, M. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Gerardi, A. Pinfield, C. Gewirtz, J. Kurth, R. Gunderson, R. Rosen, S. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, H. Keller, J.
    [Show full text]
  • New on Naxos | MAY 2012
    25years NEW ON The World’s Leading ClassicalNA MusicXO LabelS MAY 2012 This Month’s Other Highlights © 2012 Naxos Rights International Limited • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com NEW ON NAXOS | MAY 2012 8.572823 Playing Time: 76:43 7 47313 28237 1 © Bruna Rausa Alessandro Marangoni Mario CASTELNUOVO-TEDESCO (1895-1968) Piano Concerto No 1 in G minor, Op 46 Piano Concerto No 2 in F major, Op 92 Four Dances from ‘Love’s Labour’s Lost’, Op 167* Alessandro Marangoni, piano Malmö Symphony Orchestra • Andrew Mogrelia * First Performance and Recording Mario Castelnuovo-Tedesco’s two Piano Concertos form a contrasting pair. Concerto No. 1, written in 1927, is a vivid and witty example of his romantic spirit, exquisite melodies and rich yet transparent orchestration. Concerto No. 2, composed a decade later, is a darker, more dramatic and virtuosic work. The deeply-felt and dreamlike slow movement and passionate finale are tinged with bleak moments of somber agitation, suggestive of unfolding tragic events with the imminent introduction of the Fascist Racial Laws that led Castelnuovo-Tedesco to seek exile in the USA in 1939. The Four Dances from ‘Love’s Labour’s Lost’, part of the composer’s recurring fascination for the art of Shakespeare, are atmospheric, richly characterised and hugely enjoyable. This is their first performance and recording. After winning national and international awards, Alessandro Marangoni has appeared throughout Europe and America, as a soloist and as a © Zu Zweit chamber musician, collaborating with some of Italy’s leading performers.
    [Show full text]
  • Musical Times Publications Ltd
    Musical Times Publications Ltd. Review Source: The Musical Times and Singing Class Circular, Vol. 27, No. 517 (Mar. 1, 1886), p. 166 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3365196 Accessed: 18-10-2015 06:03 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 134.121.47.100 on Sun, 18 Oct 2015 06:03:48 UTC All use subject to JSTOR Terms and Conditions I66 THE MUSICAL TIMES. MARCHI, I886. Notturnein B flcrt. For the Pianoforte. Composed by M. AmbroiseThomas, the composerof " Mignon" and G. J. Rubini. [E. Ascherberger and Co.] of "Hamlet," is engaged upon a new operatic work entitled " Miranda,"which is to be brought out at the WHATEVERpraise is due for writing a melodious and Paris Opera. The libretto is from the pen of M. Jules easily playable little Sketch for the pianoforte, has certainly Barbier,and the suject is borrowedfrom Shakespeare's been earned by the composer of this graceful Notturne.
    [Show full text]
  • BEETHOVEN Symphony No
    83: BEETHOVEN Symphony No. 3 'Eroica' Symphony No. 8 CSR Symphony Orchestra Zagreb Philharmonic Michael HalBsz Richard Edlinger 11988 ~ecording1 playing Time :69'23" 1 Ludwig van Beethoven (1770-1827) Symhony No. 3 in E Flat Major, Op. 55 'Eroica' Symphony No. 8 in F Major, Op. 93 Beethoven wrote nine svmphonies, the first heraldina the new centurv, in 1800, and the last compleied'in 1824. Although he mad; few changes tdthe composition of the orchestra itself. addina. when occasion demanded. one or Go instruments more normally foundln the opera-house, he expanded vastlv the traditional form. developed in the time of Havdn and Mozart. reflecting the personal and .plitical strugglesof a period of immense change and turbulence. To his contemwraries he seemed an inimitable oriainal, but to a number of his suocessors'he seemed to have expanded the symphony to an intimidating extent. The inital inspiration for Beethoven's third symphony seems to have come from the French envoy, Count Bernadotte, who had been sent to Vienna in 1798, taking with him in his entourage the virtuoso violinist and composer Rodolphe Kreutzer, to whom Beethoven was later to dedicate his most famous violin sonata. Bernadotte spent some time in Beethoven's company and seems to have given him the notion of composing a heroic symphony in honour of General Bonaparte. The French had. bv force of arms, established a number of republics and had compelled hitria to unfavourable peace terms at the treatvof Camm Formio. As First Consul it seemed that Napoleon embodied the vikues of the republic of classical Rome, an ideal thai had a strong attraction for Beethoven.
    [Show full text]
  • Press Information Eno 2013/14 Season
    PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris.
    [Show full text]
  • Wagner's Parsifal by Roger Scruton Review
    Wagner’s Parsifal by Roger Scruton review – in defence of the insufferable | Books | The Guardian 30/05/2020, 09:31 Wagner’s Parsifal by Roger Scruton review 8 in defence of the insufferable Nietzsche famously called Wagner’s last opera poisonous, but does its theme of redemption offer an antidote to our ills? Stuart Jeffries Sat 30 May 2020 07.30 BST An English National Opera production of Parsifal. Photograph: Tristram Kenton/The Guardian In his 1998 book On Hunting, Roger Scruton defended the unspeakable in pursuit of the uneatable. In his last, now posthumously published book, the philosopher who died in January stands up for the unbearable responsible for the insufferable. The unbearable? The megalomaniac, narcissistic, antisemitic monster Richard Wagner. And the insufferable? The life-hating curse on the senses that was his last opera. So at least argued Nietzsche, who damned Wagner’s Parsifal with the histrionics only a former devotee can muster. “Parsifal,” he snarled in the essay “Nietzsche Contra Wagner”, “is a work of perfidy, of vindictiveness, of a secret attempt to poison the presuppositions of life – a bad work.” Parsifal, which received its premiere at Bayreuth in 1882, unfolds in an unsavoury twilight milieu of death, curdling blood and toxic sex. The castle of Montsalvat is home to a community of grimly celibate knights who guard the Holy Grail, a chalice holding the blood https://www.theguardian.com/books/2020/may/30/wagners-parsifal-by-roger-scruton-review-in-defence-of-the-insufferable Page 1 of 4 Wagner’s Parsifal by Roger Scruton review – in defence of the insufferable | Books | The Guardian 30/05/2020, 09:31 of Christ collected after the crucifixion, along with the Holy Lance with which he was pierced.
    [Show full text]
  • Transatlantic Crossings in J989
    SNEAK PREVIEW'S AND TRANSATLANTIC CROSSINGS IN J989 BY ELLEN LAMPERT he Welsh National Opera rang in the Richard Peduzzi, whose design collaboration New York with its American debut at with Patrice Chereau stretches over the past twenty the Brooklyn Academy of Music in years, is already at work on the decor for Cher­ • February with Peter Stein's production eau 's production of Mozart's Don Giovanni, Designer Reinhard Heinrich, Tof Falstaff. With sets designed by Lucio Fanti, who scheduled to open the new French Opera House at who recently made his direc­ also designed Stein's WNO production of Othello, the Bastille in January 1990. The building, cur­ torial debut with the Nether­ and costumes by Moidele Bickel, the production rently under construction, will host a concert on lands Opera production of was filmed in Cardiff by the BBC for an airdate la­ July 14, as a sentimental offering to this year's bi­ The Damnation ofFaust, will centennial celebration of the French Revolution, direct and design Lulu ter in 1989. (model, I) for the Heidelburg New productions on the Welsh National Opera's but full-staged productions are not scheduled until Theatre. Opening is set for 1989 home schedule include Mozart's Seraglio, di­ 1990. May89. rected by Giles Havergal, with sets and costumes by Back in Germany, Reinhold Daberto, from Russell Craig, who also designed the WNO/Mozart Acoustic Biihnentechnik, is overseeing extens ive The Marriage of Figaro. This production debuts renovations of the stage machinery at the Munich • on March 11 , to be followed in May with La Son­ Opera.
    [Show full text]
  • Wagner: Das Rheingold
    as Rhe ai Pu W i D ol til a n ik m in g n aR , , Y ge iin s n g e eR Rg s t e P l i k e R a a e Y P o V P V h o é a R l n n C e R h D R ü e s g t a R m a e R 2 Das RheingolD Mariinsky Richard WAGNER / Рихард ВагнеР 3 iii. Nehmt euch in acht! / Beware! p19 7’41” (1813–1883) 4 iv. Vergeh, frevelender gauch! – Was sagt der? / enough, blasphemous fool! – What did he say? p21 4’48” 5 v. Ohe! Ohe! Ha-ha-ha! Schreckliche Schlange / Oh! Oh! Ha ha ha! terrible serpent p21 6’00” DAs RhEingolD Vierte szene – scene Four (ThE Rhine GolD / Золото Рейна) 6 i. Da, Vetter, sitze du fest! / Sit tight there, kinsman! p22 4’45” 7 ii. Gezahlt hab’ ich; nun last mich zieh’n / I have paid: now let me depart p23 5’53” GoDs / Боги 8 iii. Bin ich nun frei? Wirklich frei? / am I free now? truly free? p24 3’45” Wotan / Вотан..........................................................................................................................................................................René PaPe / Рене ПАПЕ 9 iv. Fasolt und Fafner nahen von fern / From afar Fasolt and Fafner are approaching p24 5’06” Donner / Доннер.............................................................................................................................................alexei MaRKOV / Алексей Марков 10 v. Gepflanzt sind die Pfähle / These poles we’ve planted p25 6’10” Froh / Фро................................................................................................................................................Sergei SeMISHKUR / Сергей СемишкуР loge / логе..................................................................................................................................................Stephan RügaMeR / Стефан РюгАМЕР 11 vi. Weiche, Wotan, weiche! / Yield, Wotan, yield! p26 5’39” Fricka / Фрикка............................................................................................................................ekaterina gUBaNOVa / Екатерина губАновА 12 vii.
    [Show full text]
  • 2021 Programme
    The Richard Wagner Society of Western Australia (Inc) 2021 PROGRAMME THE NEW YORK METROPOLITAN OPERA’S DER RING DES NIBELUNGEN DAS RHEINGOLD Wednesday Bryn Terfel, Stephanie Blythe and Eric Owens star in Robert Lepage's 17 March sumptuous 2011/2012 production of the first part of Wagner's 'Ring Cycle' at 7.30 pm New York's Metropolitan Opera. James Levine conducts the Metropolitan Opera Orchestra. 2021 Annual General Meeting Wednesday DIE WALKÜRE Act 1 14 April Eva- Maria Westbroek and Jonas Kaufmann join the cast in the second 7.30 pm instalment of Wagner's 'Ring Cycle' at New York's Metropolitan Opera. James Levine conducts the Metropolitan Opera Orchestra. Wednesday DIE WALKÜRE Acts 2 and 3 19 May 7.30 pm Deborah Voigt joins the cast as Brünnhilde. Saturday WAGNER’S Birthday Lunch 22 May Noon Venue to be announced Wednesday SIEGFRIED Acts 1 and 2 16 June Texan tenor Jay Hunter Morris stars in the title role of the Robert Lepage 7.30 pm production of New York’s Metropolitan Opera’s third instalment of Wagner’s four-part 'Ring' cycle. Fabio Luisi conducts the Metropolitan Opera Orchestra. Wednesday SIEGFRIED Act 3 21 July Hans-Peter König is the Dragon/Fafner and Mojca Erdmann lends her voice as 7.30 pm the Wood Bird. Wednesday GÖTTERDÄMMERUNG Prologue and Act 1 18 August Robert Lepage directs the conclusion to the Met's Ring cycle. Deborah Voigt 7.30pm and Jay Hunter Morris star as Brünnhilde and Siegfried, the star-crossed lovers doomed by fate. Fabio Luisi conducts the Met Opera’s Orchestra and Chorus.
    [Show full text]
  • Simon O'neill ONZM
    Simon O’Neill ONZM Tenor “Simon O'Neill made a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade.” Rupert Christiansen, The Telegraph, UK. A native of New Zealand, Simon O’Neill is one of the finest helden-tenors on the international stage. He has frequently performed with the Metropolitan Opera, the Royal Opera House, Covent Garden, Berlin, Hamburg and Bayerische Staatsopern, Teatro alla Scala and the Bayreuth, Salzburg, Edinburgh and BBC Proms Festivals, appearing with a number of illustrious conductors including Daniel Barenboim, Sir Simon Rattle, James Levine, Riccardo Muti, Valery Gergiev, Sir Antonio Pappano, Pietari Inkinen, Pierre Boulez, Sir Mark Elder, Sir Colin Davis, Simone Young, Edo de Waart, Fabio Luisi, Donald Runnicles, Sir Simon Rattle, Jaap Van Zweden and Christian Thielemann. Simon’s performances as Siegmund in Die Walküre at the Royal Opera House, Covent Garden with Pappano, Teatro alla Scala and Berlin Staatsoper with Barenboim, at the Metropolitan Opera with Runnicles in the celebrated Otto Schenk production returning with Luisi in the Lepage Ring Cycle and in the Götz Friedrich production at Deutsche Oper Berlin with Rattle were performed to wide critical acclaim. He was described in the international press as "an exemplary Siegmund, terrific of voice", "THE Wagnerian tenor of his generation" and "a turbo-charged tenor". During this season’s engagements Simon makes his debut at: Tanglewood with the Boston Symphony and Andris Nelsons and the Toronto Symphony with Sir Andrew Davis and Orquestra de la Comunitat Valenciana with Henrik Nánási as Siegmund in concert performances of Die Walküre.
    [Show full text]